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Shure Wireless Dominates Telecast of 68th Tony Awards on CBS

NILES, Ill., June 17, 2014—The CBS broadcast of the 2014 Tony Awards, which aired June 8, was one of the most complex in the event’s history. From host Hugh Jackman’s sprawling, bouncing, opening number to the on-stage gathering of all winners for a closing rendition of “On Broadway,” viewers were treated to a fast-paced production that included a record 17 musical acts and a live orchestra in Radio City Music Hall.

Managing RF system design and frequency coordination for Firehouse Productions was Vinny Siniscal. “With so much real estate to cover, so many frequencies to manage and so many live bands, I specified Shure UHF-R systems again this year,” he states. “When I’m doing a live network broadcast, that’s my preference. Even though the product has been around ten years or so, I know there’s nothing else out there that I trust to be robust enough to survive in such a crowded RF environment.”

This year’s production used almost 250 channels of wireless, 64 of which were for microphones. In addition, all eight channels of in-ear monitors on the Tony stage were Shure PSM® 1000 systems. The production also used wireless intercom systems, effects cues, and ENG cameras – most notably the Steadicam following Jackman from the red carpet to the stage on the opening number. “Producers design these shows assuming that whatever wireless is required can be accommodated,” notes Siniscal. “If that means more channels in less available spectrum, then so be it. It’s our job to make it happen.”

All but eight of the wireless mics were Shure UHF-R—the only exceptions were a handful of costumes with other transmitters already sewn inside. Most of the 56 Shure channels were bodypacks, including 32 UR1M micro-packs. Twelve channels were UR2 handheld transmitters, with an SM58® capsule for Hugh Jackman and Beta 58 elements for most other artists, including Carole King, LL Cool J, and Sting’s choir. “Firehouse provided full combo systems, and, of course, we had all Shure capsules available,” says Siniscal. “At the Tony Awards, you have to be ready for anything.”

One of Siniscal’s biggest challenges this year was the creation of six separate wireless reception zones. “That was driven by the opening number,” he relates. “It started on the red carpet, which is literally outside and open to all the RF on the street. Then we had to cover the stage-level and basement-level elevator banks, plus the elevator shaft itself. Of course, we also had the usual zones for the main stage and front of house, plus the backstage zone.”

To handle the audio transition from zone to zone, Siniscal found the Shure UA874 active directional antenna to be a valuable tool. “What I love about these antennas is that the RF output is switchable from -6dB to +12dB, including unity gain,” he explains. “That’s a key feature, as it allows me to balance for different RF levels across the various zones. I can also turn each zone on and off remotely via the distribution amp.”

With a lot of advance work, three scanners, and a lot of Shure equipment, Firehouse Productions contributed flawless wireless to the telecast for the fourth consecutive year. “Doing the Tony Awards is always a big challenge, because every year, the production grows,” says Siniscal. “We had about 50 more wireless channels compared to last year, plus the outdoor coverage. That means competing with whatever is happening in Midtown – which is a lot of variables to deal with, especially for a live network broadcast. But we had a great team; we did our advance work, and had the right tools for the job. Fortunately, it went off without a hitch, and I look forward to doing it again next year.”

 

Host Hugh Jackman speaks onstage during the 68th Annual Tony Awards at Radio City Music Hall on June 8, 2014 in New York City. (Photo by Theo Wargo/Getty Images for Tony Awards Productions)

 

 

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Zeo Systems Integrations Launches New Web Site

FOR IMMEDIATE RELEASE

June 30, 2014

 

Zeo Systems Announces New Web Site

 

Hatboro,PA-

The Zeo Group, headquartered in Hatboro, PA.in the northern suburbs of Philadelphia, have partnered with local web design and marketing firm, IQnection to begin a total redesign and launch of the web sites for each of their distinct divisions. The first of these projects is the launch of the site for Zeo Systems, the installation and integrations division of the company. This site is located at www.zeo-systems.com. This launch is just the beginning of the exciting changes happening at Zeo. The launch coincides with Zeo’s purchase of the industrial park in which they are headquartered. Construction and expansion plans are on the immediate horizon so the homes of the different divisions will soon take on their own unique look and feel.

Tenor Saxophonist Keith Anderson Relies On HARMAN’s AKG C519 On Tour With Prince and Solo

VIENNA, Austria – Full of Soul—that’s the name of tenor saxophonist Keith Anderson’s band and a fitting description of the man himself. The Texas-based Anderson is a musician’s musician with an enviable high-profile gig—he’s currently playing in the horn section with Prince. He has worked with musical legends like Erykah Badu, Les McCann, Kanye West and many more. Anderson relies on the AKG C519 professional miniature clip-on condenser microphone, having become a convert to its rich sound and ability to deliver on every live gig.

Anderson and all 11 members of Prince’s horn section have been using the C519 for a variety of gigs with the Minneapolis maestro, including the last Montreux Jazz Festival and one-off and private gigs. Anderson also has plenty of other work playing with Full of Soul and top-caliber musicians like Roy Hargrove and his band RH Factor, and Marcus Miller. He’s also mixing his upcoming as-yet-untitled live album, which has the C519 all over it.

The AKG C519 microphone clips gently onto the bell of a saxophone, trumpet or any other wind instrument. Its tight cardioid polar pattern makes the C519 ideal for use near monitor wedges, and its flat 20Hz-20kHz frequency response makes it ideal for woodwind and brass instruments. The C519 can be used with a variety of wireless body-pack transmitters.

“Playing onstage with Prince can be loud, especially with 11 horn players. The C519 can handle the stage volume from the monitors without feeding back,” said Anderson, who noted that the horn section doesn’t use sound baffles or microphone stands on stage “because we have intense, calorie-burning choreography!” The C519’s small size and ability to easily mount onto a horn makes it a perfect dance partner. Anderson clips his PT 470 body pack onto a key guard rail on the side of his Cannonball tenor sax and neatly wraps the cable from the C519 around the bell of the horn.”

Anderson finds the AKG C519 works well for all the horns in the section, which include five saxes, four trumpets and two trombones. “All the guys really like it, although I have to say it’s particularly well suited for tenor sax—it really complements the frequency range of the tenor.”

Nevertheless, Anderson wasn’t a complete convert at first. “On my own gigs I used to use a microphone that had too much bottom end and every time I played out, I had to tell the sound engineer to EQ the microphone and roll off the bass drastically. One night, the front of house guy just wasn’t getting it and I struggled with the sound the whole night.”

A friend happened to be in the audience that and lent Anderson a C519. “I looked it and said, ‘Wait a minute, this is the same microphone I’ve been using with Prince!’” Anderson found the C519 to be just what he was looking for, and that its clear, natural sound brings out all the nuances of his tenor sax and his alto sax, whether he’s playing smoothly or going for grit and squeal.

The AKG C519 has been totally reliable on every gig. “I only had to change my wireless frequency one time for one show, and that has nothing to do with the microphone itself, which has been a flawless performer. The sound engineers are very happy with it and I can hear myself better than ever before in the monitors and in my in-ears when I use them.”

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

John ‘Sax’ Williams Inspires Next-Generation Woodwind Players With HARMAN’s AKG Microphones

PHILADELPHIA, Pennsylvania – Woodwind specialist John “Sax” Williams devotes his life and career to being a professional recording artist, performer, and educator. Whether it’s in the studio, on stage or during instructional sessions with students, Williams uses HARMAN’s AKG WMS4500 and C519L microphones as his tools of choice.

With experience touring in the United States Army Band, Williams has performed for multiple presidential administrations such as that of George H.W. Bush, Ronald Reagan and Jimmy Carter. Currently, when he’s not focused on live and production work with renowned artists such as Mary J. Blige and Jay-Z, he passes his love and passion for music onto others through one-on-one instruction.

Williams’ AKG microphones allow him to project his sound during shows and recordings as best as possible. “AKG produces high-quality, world-class microphone systems, which make all the difference for me,” said Williams. “The WMS4500 wireless system and the C519ML saxophone microphone are awesome products that I constantly use for my live performances and recordings. The sound is sincere and warm, and I can tell that it is the result of long hours of refinement, where the development of the product was clearly thought out.”

A classically trained clarinet player, Williams has a deep understanding of the delicate sound elements on the stage and in the studio. But besides accuracy in sound, it is important to have reliable equipment, and the AKG microphones give Williams peace of mind when touring and teaching.

“The SR4500 Receiver and PT4500 UHF Wireless Bodypack Transmitter are extremely durable and last forever,” said Williams. “I’m also impressed by how HARMAN as a company always comes through with technical support, regardless of what time I need it. It’s been amazing every time, receiving honest and reliable support even when traveling on the road.”

Sound engineer of Audio Wave Sound Rob Gordon, a frequent collaborator with Williams and also a proud AKG customer, added: “I’ve recommended AKG microphones to others for a long time, considering their amazing front-end projection and warmth of sound,” said Gordon. “The C1000, C414 microphones sound great and are the perfect choices for top-level musicians such as John.”

For more information on John “Sax” Williams, please visit www.johnsaxwilliams.blogspot.com

For more information on Audio Wave Sound, please visit http://soundwaveaudio.com

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

Professional Wireless Systems’ Frequency Coordination Hits the Right Note for Telemundo’s Popular Singing Competition, la Voz Kids

ORLANDO, FL, JUNE 30, 2014 – When Telemundo’s highly rated singing competition La Voz Kids kicked off its second season at Universal Studios Orlando, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on-hand to provide all wireless equipment and frequency coordination for the popular show.

La Voz Kids features approximately 140 young vocalists between ages 7 and 15 who are competing for a recording contract and a cash prize to support their education. The second season premiered with over three million viewers on Telemundo.

PWS supplied a range of wireless gear for the show and managed frequencies across the three sound stages, each which were approximately 500 to 1000 feet apart. The main stage, Stage 21, was home to the talent’s performances in front of a live audience and was where the majority of the competition took place. Subsequently, Stage 20 was used as the greenroom and Stage 19, sponsored by State Farm Insurance Company, was where the one-on-one coaching between the judges and talent took place.

PWS provided nearly 50 Shure wireless microphones for the performers throughout the show’s duration. In addition, PWS supplied the show with 40 Telex BTR-800 wireless beltpacks, 32 of which were used on the main stage by the lighting, audio and production crews, camera operators and stage managers. The other eight were kept stationary at Stages 20 and 19 to ensure that the crew had them available for any unanticipated occurrences. To streamline workflow operations, PWS also tied the intercoms into the main PA system, so that the stage announcers’ audio could be projected through the sound system to efficiently communicate with everyone on-location. This proved particularly essential during rehearsals.

In providing its wireless services for the three-phase entertainment show, PWS coordinated and managed a total of 200 frequencies, which included all the performances as well as additional ENG gear that was used to wire up the families to have them reflect on their son/daughter’s most recent performance. PWS’ main RF Coordinator John Garrido faced two main challenges while on set. One of the biggest hurdles centered on the show’s three-phase approach. Each phase or round of the competition was hosted on an entirely new set in order to give the show a fresh look as it progressed. “In between each phase and subsequent rebuild, all of the wiring and equipment had to be reconfigured,” says Garrido. “It was a big task for us, but one that we were happy to take on.”

The location of the show itself also presented PWS with quite a challenge in terms of managing and coordinating neighboring frequencies. “The show was filmed in the middle of Universal Studios, with other shows taping all around La Voz Kids on different, close-by stages,” adds Garrido. “Universal Studios manages approximately 400 frequencies, on a regular basis, and though we were coordinating and managing approximately 200 for La Voz Kids, we always had to be on guard to ensure that surrounding shows’ frequencies were not causing interference. This was particularly difficult to manage, because right behind Stage 21, there was a designated concert stage that hosted multiple live acts during the taping of La Voz Kids, creating the potential for interference. Fortunately, our crew was well prepared, and our expertise allowed us to stay on top of any potential issues.”

To ensure all frequencies were well managed for the duration of the competition, PWS supplied and deployed a majority of its own RF equipment, including a combination of its Domed and Helical Antennas. All in-ear monitors, as well as the Telex BTR outputs were run through GX-8 Combiners for transmission. In addition, PWS utilized its DB Series Multicouplers for all microphone and Telex BTR zoning and distribution. Throughout the show, PWS relied on its own Intermodulation Analysis Software System (IAS), a complete frequency management tool that helps coordinators quickly choose the clear frequencies for each specific wireless system and tuning range.

La Voz Kids proved to be a very successful show for PWS,” says Jim Van Winkle, general manager of PWS. “Working on a competition of this magnitude for such a long duration can be a cumbersome task, but our crew was well prepared to take on the challenge and did a fantastic job in ensuring that there were no frequency or signal interference problems during the show’s tapings.”

For more information about Professional Wireless Systems, visit http://www.professionalwireless.com.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in live concert, television broadcast, corporate, industrial, theatrical, house of worship and sports events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mama Mia,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater, historic St. Bartholomew’s Church and NYU’s James L. Dolan Recording Studio. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Newly Formed Boy Band Cre5cendo Achieves Modern Sounds with HARMAN’s AKG Microphones

MILAN, Italy – Formed around the 15-year old guitar prodigy Gianluca Gentilesca, boy band Cre5cendo ambitiously offers a modern interpretation of Classic Rock, with help from HARMAN’s AKG microphones in one of Milan’s historic studios. While working with producers, KNAGUI of 7:06PM Entertainment Group and Massimo Caso, who also serves as studio engineer, Cre5cendo has found its voice as a band that respects the works of original artists while adding its own unique flavor to the mix.

Working out of Caso’s studio Il Cortile, the producers, who together call themselves GUIMAX Productions, recently cut a cover of “Happy” by Pharrell Williams as one of Cre5cendo’s first songs. Two AKG C12A and two D12 microphones, plus a few 414 and D112 microphones, were used to record the drums, guitar amps and room acoustics for the song.

“What I love about the AKG microphones is that they give a certain life to the recording,” said KNAGUI. “They have a distinct flavor when they pick up the sound, but unlike microphones from some other brands, it’s not so dominant that the microphones only have specific uses. Therefore, the placement is flexible and allows us to bring out the unique qualities of the band.”

The drummer enjoyed a setup of three microphones that covered the overhead, kick and bass, thanks to a cardioid configuration with AKG C12A microphones, which according to KNAGUI is a “modern and realistic approach to the sound. Rather than providing a microphone for each drum, this setup allows the drummer to “be the drummer” and showcase his finesse and proficiency.”

The C12A were the favorite microphones of Caso’s inventory, and also his first choice for the acoustic guitars, providing certain “softness without the dullness. Also, they are able to capture the sounds of electric guitars effectively, which are usually notoriously difficult to record with condenser microphones,” Caso said. “So far, only the AKG C12A and 414 microphones were able to do so!”

While recording the band’s EP this past January, the D12 and D112 microphones were used on the kick drum, while the C12A and 414 were used on the hi-hat and cymbals, providing excellent balance and a natural reproduction of sound in the studio.

“When Cre5cendo was looking for a modern sound with a rock-centric and open approach, I knew the choice and use of microphones would be essential,” said Caso. “This is why AKG’s established heritage in sound is greatly appreciated by me and the band.”

For more information on Cre5cendo, please visit www.facebook.com/cre5cendo

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

Professional Performance Meets Affordability with HARMAN’s AKG Project Studio Microphone Line

AKG Perception P120

VIENNA, Austria – Building on almost 70 years of experience in developing world-class microphone technology, HARMAN’s AKG is adding five new models to its Project Studio line of microphones. The new models are designed for enthusiasts and professionals alike, meeting the needs of makeshift project studios as well as professional environments.

The Project Studio line was built on AKG’s heritage of technical excellence and was developed in collaboration with some of the audio industry’s top professionals. The new Project Studio microphones deliver historical premium AKG sound quality in a classically designed series. “As more and more manufacturers continue to enter the marketplace, it’s becoming increasingly difficult for end-users to identify the best microphones for their needs,” said Erich Gaertner, Product Line Manager, AKG. “Therefore, we chose to update the Project Studio line with professional-grade microphones at accessible prices, thereby making it easier for our customers to find the perfect microphone to meet their demands. Thanks to AKG’s depth of research and development resources, the new Project Studio line of microphones are both high-quality and affordable.”

The new additions to the Project Studio line include: the P120 general purpose recording microphone; the P170 general purpose instrument microphone; the P220 large-diaphragm true condenser microphone; the P420 large-diaphragm dual-capsule true condenser microphone; and the P820 dual-capsule tube microphone.

The P120 is a 2/3-inch diaphragm true condenser microphone that offers durability, outstanding performance and excellent value. The low-mass diaphragm delivers a clear sound with accurate sonic detail for vocals, speech and instrument recording in project studios and for home recording.

The P170 is a small-diaphragm condenser microphone for recording of overheads, percussions, acoustic guitars and other strings. Its lightweight half-inch true condenser transducer diaphragm delivers outstanding clarity and transient response. The P170 utilizes the experience of sound engineers from around the world and is considered an affordable alternative to the legendary AKG C451 B.

The P220 is a large-diaphragm true condenser microphone offering a warm and clear sound for lead vocals, acoustic guitar and brass instruments. A switchable bass-cut filter and attenuation pad make it perfectly suited for use on loud sound sources with sound pressure levels up to 155dB SPL. The rugged and roadworthy design also makes the P220 a perfect choice for on-stage applications. The P220 represents the most popular and successful microphone within the actual Project Studio Line. It comes complete with a spider-type shock mount in an aluminum carrying case.

The P420 is a multi-pattern large diaphragm true condenser microphone for demanding project studio recording applications. Offering high sensitivity and 155dB maximum SPL, the P420 delivers a warm, transparent sound quality perfectly suited for ensemble recording, grand piano, woodwind and brass instruments, as well as drums and percussion. With three selectable polar patterns—cardioid, omnidirectional or figure 8—it is an ideal tool for stereo miking techniques and ambient recording.

The P820 Tube high-performance multi-pattern tube microphone is an excellent tool for highlighting lead vocals, brass instruments, electric guitars and drums. With its dual one-inch diaphragm capsule and the advanced ECC83 dual-triode circuitry, the P820 Tube delivers real tube sound and raises the bar in its class of affordable tube microphones.

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

CAD/Astatic Debuts 1600 Series UHF Wireless At InfoComm

Las Vegas, NV––CAD Audio/Astatic Commercial introduced its high performance 1600 Series UHF wireless system at InfoComm 2014.

Versatile and designed to ensure exceptionally reliable reception in a variety of installation settings, the new 1600 Series system provides 100-channel frequency agile UHF operation for maximum operating range. It also features proprietary CAD ScanLink™ technology to precisely scan, select and link to the optimum channel in any RF environment.

Other features include True Diversity operation to minimize multipath interference along with CADLock™ Automatic Tone Encoded Squelch that eliminates unauthorized transmissions in the signal path.

Ideal for Corporate, House of Worship and Broadcast use, the WX1610 Bodypack System features the Equitek E19 miniature condenser earworn mic, a Cardioid Lavalier and guitar cable.

The TX1600 handheld and TX1610 body pack transmitters have SoftTouch™ multi-function On-Off/Mute/Low Battery/ScanLink status switches with multi-color LED indicators. High quality alkaline double AA batteries provide more than 15 hours of transmitter battery life.

The WX1600 receiver is housed in a durable metal chassis with ¼” and XLR outputs for additional flexibility. System specs include a Frequency Response of 40Hz–15KHz, and Dynamic Range >105dB.

For more information about CAD Audio/Astatic Commercial, please call 800.762.9266 or visit www.cadaudio.com.

Masque Sound Brings the Powerful and Influential Lyrics of Tupac Shakur to the Stage in Holler if ya Hear Me

Custom Audio Equipment Package Keeps the Beat for First Hip-Hop Musical in Broadway History

NEW YORK, JUNE 23, 2014 – As the curtain rose and the beat dropped on Broadway, the rhymes of Tupac Shakur engulfed the Palace Theatre during the highly anticipated hip-hop musical Holler If Ya Hear Me. Sound Designers David Patridge and John Shivers turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package for the riveting new production.

Holler If Ya Hear Me transports audiences to the world inside Tupac Shakur’s lyrics, and blazes to life in a non-biographical story about friendship, family, revenge, change and hope. The production brings to light the struggles for peace against the daily challenges of inner city life in this entertaining and original musical. Through the poetry of one of the 20th century’s most influential and culturally prominent voices, audiences are given a window into realities of the street, which are still relevant today.

Unlike a typical musical, which focuses mainly on reinforcing the audio coming off the stage, Patridge and Shivers’ goal in designing the sound for Holler If Ya Hear Me was to not only reinforce but amplify the audio to bring it to a level that was much more impactful. To do so, they worked with Masque Sound to obtain a custom equipment package, which included a DiGiCo SD7T Live Digital Console, d&b audiotechnik V-Series line array system, d&b D80 amplifiers and a Yamaha PM5D-EX digital console. The performers were outfitted with Sennheiser SK5212-II radios and EM 3732-II receivers, as well as DPA d:fine microphone booms fitted with a 4066 element.

“This was the first time that we used the d&b V-Series and D80 amplifiers and we were very impressed. The PA system needed to have more volume than a typical Broadway show in order to adhere to the punchy, hip hop score,” says Patridge. “The capacity and quality of the d&b D80 amplifiers was excellent. Working in an older theater also presented its challenges, architecturally speaking. We needed a line array system that was compact enough to fit the space, not block sight lines and not weigh too much; the V-Series was the perfect choice. Masque Sound went above and beyond in purchasing an abundance of high-end equipment for us, because the team knew that it was necessary for a show of this caliber. We are very appreciative that they were willing to go that extra mile to help bring our vision to life.”

The designers called upon two different d&b models in order to more evenly disperse the audio throughout the theatre. “We put the 120 degree boxes at the bottom of the array and had the narrower pattern going further distances, so when the audio opens up, it keeps some of the energy off the walls of the room,” adds Patridge. “When designing for sonic signature, you have to look at everything—it has to sound good, be coherent, be able to control the pattern and it has to have power. The d&b PA that Masque Sound provided allowed us to do just that.”

The location of the mix position also presented a unique challenge for the designers. The seating of the Palace Theatre is configured with a continuous slope, which provides a stadium seating effect instead of the traditional separate levels (orchestra, mezzanine and balcony). As a result of the angle of the chairs, the FOH mixer cannot see the actors on stage, as he would have to look through the console.

“Not having a good line of sight can be quite a challenge, so we incorporated a video monitor system into the design,” says Patridge. “As a one-stop shop, Masque Sound was able to supply the video component that we needed to overcome this unexpected challenge.”

In addition to his praise of Masque Sound, Patridge also credits his long-time production engineer Kevin Kennedy for a job well done. “The sound turned out great, and we are really excited and thankful to be part of this history-making musical,” concludes Patridge.

Holler If Ya Hear Me opened on June 19, 2014 at the Palace Theatre. For more information and to purchase tickets, please visit: www.hollerifyahearme.com.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Audio-Technica Announces Network Dante™ Microphone

— Audio-Technica’s ATND971 Network Microphone transmits audio and control data together over the Dante™ network protocol —

INFOCOMM, LAS VEGAS, NV, June 18, 2014 — Audio-Technica(Booth C10520), a leading innovator in transducer technology for over 50 years, announces its new Audio-Technica ATND971 Cardioid Condenser Boundary Network Microphone, bridging the gap between audio and IT as the first wired microphone that transmits audio and control data together over Audinate’s Dante™ network protocol. Dante has become a go-to method of networking for many audio professionals; a true plug-and-play solution, Dante uses standard Internet protocols to distribute digital audio and control data with very low latency. more

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